A soaring, light - filled space of more than 24,000 square feet, with glass roofs and polished Portuguese stone floors, it is the public face of the museum, and like
the cavernous Turbine Hall at the Tate Modern in London, it can be visited without an entrance ticket.
German artist Carsten Holler has built a series of long, curving slides inside the gallery's
cavernous Turbine Hall — named for its previous role as a power station.
He turned Tate Modern's
cavernous Turbine Hall into an adventure playground packed with giant twisting slides.
Many museum - goers first became aware of Höller's work on the occasion of his 2007 exhibition at the Tate Modern in London, where several of the Belgian - born artist's slides were installed in
the cavernous Turbine Hall as part of the museum's annual Unilever Series (watch videos of a ride down one of the slides here).
The second big name is Tino Seghal, the artist who hired a bunch of people to run about and chant in Tate Modern's
cavernous Turbine Hall last year.
At Tate, she organized a Gabriel Orozco show in 2011, and has commissioned Tino Sehgal, Carsten Höller, and Dominique Gonzalez - Foerster to make works for
the cavernous Turbine Hall.
In the UK, he is still best known for his 2006 piece, Test Site, which allowed willing participants to launch themselves down metallic double - helix slides installed in the Tate Modern's
cavernous Turbine Hall.
Not exact matches
At the same time as his
cavernous industrial container eats up the light in Tate Modern's
Turbine Hall, Modern Art Oxford is staging Topography, an exhibition of his lesser - known video art.
Situated within the
cavernous 1640 - square - metre space of the Island's
Turbine Hall, her Biennale of Sydney installation transports visitors to a realm that is at once familiar yet alien.
Nauman is the fifth artist to take on the
cavernous space of Tate Modern's
Turbine Hall.
The
Turbine Hall is historically a site of energy production through the massive turbine engines that once occupied this cavernous
Turbine Hall is historically a site of energy production through the massive
turbine engines that once occupied this cavernous
turbine engines that once occupied this
cavernous space.
Under Charmatz's direction, the
cavernous space of the
Turbine Hall will become a venue for classes, workshops and performances, while scattered throughout the Tate's galleries will be specially adapted versions of dance works by Charmatz and other choreographers.