Alexander Calder: Performing Sculpture

At the Tate Modern

Hercules and the lion

It’s Hercules and Lion (1928)…but I’m not really convinced it’s a lion

First up – apologies for not briefing you on this sooner. To make up for it then, I’ll be concise (no…yes…no) and I’ll furnish you with a couple of pictures to get you in the planning mood.

To note – this exhibition has really grown on me. I saw it first with a fabulous partner in cultural crime back in January and then again this month, and the more I think, discuss and visualise it, the more important and interesting it has become. Additionally, my second partner in cultural crime has thankfully been busily fashioning his interpretations of the show at home, with a stray wine bottle wire or safety pin, which is always nice.

Favourite bits – the wire work. OK I know that most of the pieces had some kind of wire used in their composition – particularly as I guess Mr Calder has been best known for his mobiles, but I was really excited by the works displayed in Room 1 and Room 3. It was like Wire Work character alley, featuring circus acts and portraits and super nimble plyer work precision.

the acrobats

It was also pretty cool to see the original piece hung and then see its shadow – which crazy as it sounds produced a completely different image. Hopefully this media addition states it better than I can.

mask on wall

Other favourite bits – the mobiles, particularly the ones that looked so 70s but were really 30s-40s, oh and in the last room, there’s a sensational calm, Japanese looking one.


Final favourite bit – Hoorah for the merchandisers at the TATE shop, for I was able to come home with affordable usable glassware. This you can imagine is a pretty fabulous morning O.J. treat and a sensational way to have my own Calders.

Be quick, on until and including 3 April 2016.

(images all sourced at google images)