Qompendium is an evolving and ever-changing platform for philosophy, art, culture and science, represented by a series of print publications: magazines, books and monographs. Furthermore, it is enriched by a gallery concept, a work shop and a fast-moving online portal.
For this year's Duveen commission Fiona Banner places recently decommissioned fighter planes in the incongruous setting of the Duveen Galleries at Tate Modern Britain.
Plucked from the sky, a Sea Harrier and a Sepecat Jaguar jet have fallen to earth in Tate Britain. It's the work of Fiona Banner, and in an average summer critics would be busy drawing tidy parallels between the work and the UK's ongoing military involvement in overseas conflicts. But these current affairs were overshadowed instead by a kerfuffle sparked when arts practitioners criticised the Tate's sponsorship by BP in the Guardian newspaper on the day of the opening. As I approached the galleries a few days later, the high-pitched argument was ringing in my ears: critic Jonathan Jones had written that given impending cuts in cultural funding, 'if they [museums] can get money from Satan himself, they should take it'; 'art will sell its soul, surrender all moral integrity' countered artist activist John Jordan the next.
Excerpt by Aoife Rosenmeyer, Art Agenda.
Fiona Banner's "Harrier and Jaguar" at Tate Britain
28 June 2010 – 3 January 2011
Watch the making of the exhibtion here.